Theater review

LIPS TOGETHER, TEETH APART

While “It’s Only a Play” is breaking box-office records on Broadway — a textbook example of starry headliners trumping mediocre material — you may want to check out author Terrence ­McNally’s drama “Lips ­Together, Teeth Apart.” The revival that just opened at Second Stage has its problems, but at least it’s actually a play.

The show premiered in 1991 and now feels like a time capsule. Set a year earlier in the Fire Island Pines, “Lips Together” tackles mortality and marital discomfort through the eyes of two (straight) couples. It didn’t hurt that the now-legendary original cast included Nathan Lane, Christine Baranski and Swoosie Kurtz.

The new troupe could well end up with similarly rich careers — they’re all excellent actors, even if some are miscast in Peter DuBois’ otherwise elegant revival.

Michael Chernus and Tracee Chimo have gone from playing lovers on “Orange Is the New Black” to siblings Sam and Chloe in this show.

They’re spending Fourth of July weekend on Fire Island, at a house Sam’s wife, Sally (America Ferrera), inherited from her gay brother.

His AIDS-related death shadows the festivities, especially as gay men cavorting in thongs surround the foursome’s patio.

But then death is on everyone’s mind, whether acknowledged or not. Sally, still in mourning, spends a lot of time staring at the sea, where she spots a swimmer who may or may not be trying to commit suicide, a la “A Star Is Born.”Set over July Fourth weekend, Michael Chernus and America Ferrera play a married couple.Joan Marcus/Second Stage Theatre

Meanwhile Chloe’s husband, John (Austin Lysy), has inoperable cancer. His coping mechanism is unflappable aloofness, which also helps him handle his high-strung chatterbox of a wife.

Chimo’s Chloe hides her worries behind affectation, randomly breaking into French phrases and show tunes. A comic expert capable of quicksilver mood changes, the former “Bad Jews” star is an endearing mix of vulnerability and volatility, but she’s also too young to play a 40-year-old mother of three.

As her brother, Chernus seems more like a gentle nouveau Brooklynite than the play’s bigoted contractor from New Jersey. Underplaying nicely, Lysy and Ferrera are more in sync with their roles, or at least less jarringly cast.

Once again, McNally lays it on thick — the drowning swimmer is one Grim Reaper signpost too many. Yet for all its flaws, the play captures a time and place with despairing bite and palpable anger.